Word: marias
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Dates: during 1970-1979
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...Bloom as Mary and Eileen Atkins as Elizabeth, has just finished a Broadway run and is scheduled to go on tour in the fall. Also in New York, a musical called Elizabeth I had a short run, and at Lincoln Center there was an adaptation of Schiller's Maria Stuart-not to mention a production of Donizetti's Maria Stuarda at the New York City Opera...
...final months of life, Mobster Joey Gallo developed an unusual friendship with Actor Jerry Orbach and his wife, Writer Maria Curro. Orbach had played a role patterned in part after Gallo's life in the movie version of Jimmy Breslin's The Gang That Couldn't Shoot Straight. Out of the blue, the Orbachs got a call from Gallo, who wanted to meet his screen counterpart. The three saw each other almost daily after that. The Orbachs told TIME correspondent James Willwerth how they felt about Gallo. It is a picture that his rivals-and victims-would...
Ever since Maria Callas' dwindling voice made operatic appearances hazardous, the soprano has looked for things to do. She made a movie of Medea, took up teaching (an opera class at Manhattan's Juilliard School of Music) and hinted at a return to the stage. Now, at 48, she has asked a friend, Actor Raf Vallone, to create a suitable movie role for her. Vallone is working on a scenario for a prima donna's dream -Callas is to play Callas in a movie about Callas. "She is one of the very few great individuals we have...
...Elizabeth of Devereux is a study in willful, stony obduracy. By contrast, the role of Elizabeth's archrival and victim Maria is mercurial and passionate, offering Sills an ideal opportunity to display her gift for developing a character. In her first scene, Sills is a sweet-voiced lark of a girl enjoying the open sky and the fragrant fields. Moments later she is off on a rapturous, throaty love duet with the Earl of Leicester, making Donizetti's elaborately wrought roulades and cantilenas sound as natural as a lullaby...
Later comes a hair-curling (and historically inaccurate) episode in which, with spitting snarls, Maria denounces Elizabeth to her face ("obscene, unworthy prostitute . . . vile bastard"), and thereby seals her doom. At the end, Sills is the epitome of resolute self-control, pulling her disparate and volatile selves together, laying her head bravely on the block and rapping it three times to cue the executioner, as, by some accounts, Maria did. Going to one's death onstage is nothing new for any opera singer. But Sills somehow always manages to put new life into it. -William Bender